module 5 teaching pranayama - wds.advection.net

Module 5 Teaching Pranayama

77

Module 5: Teaching Pranayama

understanding toward you. The pause that follows is an opportunity to sit quietly with God. The exhale is your path to move yourself closer to God, and the pause that follows the exhale is the moment of isvarapranidhana, the last limb of yoga, a surrender and knowing that there is something greater than you.” For me, paying attention to these four phases of the breath make it easier to stay aware and connected to my breath, during my practice.

The object of pranayama is to pay attention to the four phases of the breath, with particular awareness of the quality of exhalation. Yoga’s goal is to reduce avidya (ignorance, misconceptions) and eliminate impurities3. When the exhale is restricted or uneven, it is like a clogged pipe: the elimination of waste is blocked and does not leave room for clean, pure prana to flow in. When we can empty ourselves, then there is room to take in a new breath, and to practice breath retention for some techniques.

There is a physiological need to breath. Cells and tissues need the oxygen received from the inhale, and once oxidized, need to flush out the resulting carbon dioxide on the exhale. Oxygen gets delivered to cells from arterial blood via capillary membranes in the lungs and heart, and gets returned to the heart and lungs from cell membranes in deoxygenated venous blood. In normal subconscious breathing, this exchange occurs about 12-15 times per minute, and increases with stimulation such as exercise or elevated emotional states.

Breath Awareness

Prana is the Sanskrit word for life force. Pra means first and na is the smallest basic unit of energy, so prana is involved in every part of our being. Without prana, we are not alive. Free-flowing and undisturbed prana produces health and ease in both body and mind.

Pranayama is the lengthening and control of our breath. Pranayama enhances respiratory function, improves the circulatory system, and when practiced with asana, allows the student to move energy throughout the body and clarify the mind. The real practice of yoga is directing awareness to each breath, yet this is often the most elusive element. The distraction of thoughts, sounds, or physical sensations are constant and cause the breath to fade. When we are fully connected to and aware of every part of our breath, we experience what Pantajali describes in Yoga Sutras 1-2 yogas chitta vritti nirodha: 1 “Yoga is the cessation of the fluctuations of the mind”. When you are truly focused on each part of the breath—the inhales, the exhales, and the pauses that surround them—you are able to be present, aware, and engaged in the moment. Seane Corne taught a workshop where we matched the duration of the asana movement exactly with the length of inhales and exhales in Suryanamaskar A & B; it was a wonderful way to become very aware of the breath and left no time for the distractions of thought. Doug Keller says the “aim of pranayama is to foster a free and undisturbed flow of prana, which quiets the agitations of the mind by nurturing a smooth and clear flow of consciousness.” 2

Prana is associated with the inhale, and bringing energy into the body. Apana is the elimination or exhalation of negative energy or toxins. A healthy person has lots of prana inside, while the restrictions of an unhealthy or sick body keeps more prana outside of the corporeal. A clear and transparent mind does little to disturb the body; however, when we are blocked in our mind or body, there is little space for prana to flow. We can experience a myriad of emotions and thoughts that hinder the flow of prana, which is one of the reasons it is so difficult to be conscious of the breath for long periods of time. When the breath is smooth and even on the inhale, and more importantly on the exhale, it is physiologically difficult to feel anxious or “freaked out.” When the body and the mind are calm, they are prepared for meditation. Generally, extending the exhalation longer than the inhalation has a relaxing effect on the nervous system and the body; similarly, extending the inhalation longer than the exhalation has an energizing effect. Being aware of the breath is also a pathway for connection to God or Spirit. Sri T. K. V. Desikachar (son of Sri T. K. V. Krishnamacharya) taught me his father’s viewpoint on breathing: “When you inhale, you have a chance to draw God or the spirit of your own

78


79


The lungs contain sacs called alveoli in which the gas exchange occurs.

Each lung has approximately 1,500 miles of airways and 300 million alveoli 4. Elastin fibers in the alveoli give lungs their pulmonary elasticity, which allows exhalation to occur. A double layer pleural membrane attached to the ribs and diaphragm surrounds the lungs and allows the lungs movement while holding them in place. Air enters and exits the lungs through the airways of the nose or mouth. The nose acts as a filter for air entering the body, while the mouth is a shorter pathway and has a greater capacity for larger quantities of air.

Lungs can be moved in two different ways: through the ribs, called costal breathing, and diaphragmatic or “belly breathing5” The rib cage opens on the inhalation and closes on the exhalation in costal breathing, while the belly expands with the inhalation and contracts on the exhalation for diaphragmatic breathing. Seventy–five percent of “normal” breath is diaphragmatic. The diaphragm is a double dome-shaped muscle that attaches to the bottom of the breastbone and to the lower ribs, and connects all the way down at the fourth vertebra. Diaphragmatic breathing happens in the middle of the torso, with the diaphragm expanding the lower ribs on the inhale and relaxing on the exhale.

80


Ujjayi Breathing

Ujjayi breathing is used throughout yoga practice, and is what defines the asanas (poses) as yoga. The translation for the Sanskrit term Ujjayi is “what clears the throat and chest area 6.” Ujjayi breath is an inhale through the nostrils if possible (sometimes allergies or illness dictate the necessity of mouth breathing), bringing the breath down into the throat with a soft audible sound and distinct sensation. Some people refer this to Darth Vader breathing, or the sound of an underwater scuba diver. Then, the breath is moved down into the torso filling all sides of the body. There is a pause that follows, and then the exhalation is a reverse of the inhale, with the same, distinct sound in the throat before the breath leaves the nostrils. Ujjayi breathing maintains an even, steady pace through all four stages, without any fluctuations. This serves to narrow the focus of the practitioner to the point where the breath becomes louder than their thoughts. Breathing this way serves to warm up the breath, the lungs, and then the body, allowing the yogi to move safely into each asana. The quality of the breath is also an indicator of how accurately the student is performing each pose—if the breath can be steady and even, then it is right. When the breath gets shallow or faster paced, it is an indicator that the practitioner has moved past their personal edge in the pose. The connection to Ujjayi breath also serves to keep the yogi present, allowing for a greater feeling of balance and ease in the practice and for the calming of the nervous system to increase feelings of peace and serenity.

To instruct Ujjayi breathing:

1. Have the students sit comfortably, closing their eyes and relaxing their shoulders down away from their ears.

2. Ask your students to notice their breath as it is occurring now. Each inhale, and each exhale.

3. Then, ask them to open their mouths and breath as if trying to fog a mirror. After a few rounds, have them close their mouths and concentrate on the sound and sensation being created in the throat.

4. Invite your students to begin slowing down the duration of each inhale and exhale, eventually having the length of the inhale equal the length of the exhale.

5. Ask them to feel the breath expand inside, filling out the side and back of the body.

6. Remind them to maintain steady, even breathing throughout the entire practice, and acknowledge that they will find distractions from the rhythm of their breath by a thought, sound, or sensation in the body. This is all part of being human. Once they can catch themselves at this place and return to their breath, the real practice of yoga can begin. It requires constant effort to stay present with the breath.

7. I also like to remind the students here that when they can keep the steady, even quality of Ujjayi breath in their pose, they know they are in the right place for their body at that moment.

8. Let your students know that if their breathing becomes rough, ragged, or a struggle, they are in the wrong place in their pose, and encourage them to back out a little and return to a steady flow of breath.

81


Other Breathing Methods

Kumbhaka: Retention Breathing

Kumbhaka means “empty pot” in Sanskrit, and Khumbhaka pranayama is the practice of staying with and expanding the natural pauses that surround each inhale and each exhale. In these moments, the breath seems to vanish, and the body and mind can become more still and clear. In these effortless moments, meditation can begin.

The pause after the inhale is Antara Kumbhaka, and the retention after the exhale is Bahya Kumbhaka. These retentions are not forced; they have a sense of naturalness and ease.

To teach Antara Kumbhaka:

1. Have students sit in a comfortable, upright position, and ask them to notice their natural breathing rhythm.

2. Begin instructing Ujjayi breathing, having the students gradually deepen their breath. Encourage them to feel their heart space and to narrow their focus to each breath.

3. Ask the students to begin noticing the natural pause at the end of the inhale and ask them to become aware of what is happening in their body and mind.

4. Cue your students to gently hold the pause for a few seconds without forcing or struggling to hold it, then begin an easy transition to the exhale.

5. After one Antara retention, have your students breathe several rounds of Ujjayi, with a continuing smooth and steady rhythm to each inhale and exhale.

6. Then, on the next round of Antara, ask your students to lengthen the retention by a second or two. Repeat the Ujjayi for several rounds, each time lengthening the pause after the inhale until they can comfortably retain the pause for 15 seconds.

7. On the pause, have your students engage muladhara (root lock), uddiyana (belly lock), and jalandhara (chin lock) bhandas to contain the prana energy.

To teach Bahya Kumbhaka:

1. After the students can easily perform Antara kumbhaka, introduce the retention after the exhalation: Bayha Kumbhaka.

2. Begin with several rounds of Ujjayi breathing, having the students observe their natural exhalations and the pauses that follow.

3. As with Antara, have your students hold the pause after the exhalation for one count and then follow with several rounds of Ujjayi.

4. On the following Bayha round, lengthen the pause for one extra count, encouraging them to keep a relaxed face and body and to avoid gripping the belly. Return to several rounds of Ujjayi, and repeat the process until they reach a fifteen-second hold.

5. If the inhale rushes in, they have held the pause for too long—it should be a steady and smooth transition with a relaxed body.

82


Viloma Pranayama

The Sanskrit Viloma means “interrupted” or “going against the grain.” This technique expands on the Kumbhaka, dividing both the inhale and the exhale into three parts, and is designed to make us more mindful during the pauses in our breathing. The pause is a suspension of breath instead of a hold, and there should be no strain or pressure during the pause so that a space is created inside to be still and quiet—there should be a feeling of no breath at all when the throat closes.Ujjayi breathing is again used and the breath and pauses are counted to help give equal attention to each part of the breathing cycle. The pace is an individual, steady rhythm. If you gasp for the next breath, you are going too slowly.

To instruct Viloma Pranayama:

1. Ask your students to lie down comfortably and begin Ujjayi breathing.

2. Tell them each part of the breathing should be relaxed and unstrained.

3. For the inhalation, breathe into the belly for a count of four.

4. Pause for a count of two.

5. Breathe into the mid-chest for a count of four.


7. Breathe into the upper chest for a count of four.


9. Release the breath in one long, smooth exhale.

10. Repeat for several rounds.

11. Return to Ujjayi breathing for several rounds and rest in Svavasana before working with the exhales.

12. Reverse the process for the exhalation cycles, taking one long Ujjayi inhale and then beginning the exhale from the belly, moving to mid-chest, and finishing with the upper chest using the four-to-two count ratio.

13. Repeat for several rounds and then rest in Savasana.


83


Kapalabhati Pranayama

Kapala means “skull” in Sanskrit, and Bhati means “luster,” or “to shine with cleansing.” This pranayama practice is very energizing—it oxygenates the blood supply and improves circulation by working the diaphragm as a pump. It also drains and clears the sinuses and helps the lungs to become more elastic and supple. The skull shining effect comes from increased circulation to the brain as the oxygenated blood cleanses the brain and glands located in the head and upper body. It also massages and tones the abdominal muscles and digestive organs.

There are three parts to Kapalabhati breathing: a deep inhale, active puffs of breath through the nostrils, a retention (kumbhaka) for a few counts, and finally a natural exhalation.

To instruct Kapalabhati Pranayama:

1. Guide students through several rounds of Ujjayi breathing to warm up the lungs and body.

2. Take a deep inhalation.

3. At the beginning of the exhalation, blow 18-25 short puffs of air through the nostrils by pulling the abdominal muscles quickly in toward the spine. There will be a natural release of the abdominals that creates a mini-inhalation. This active phase of the exhalation comes from the diaphragm and should be steady, even, and unforced. This pumping action oxygenates the blood.

4. Follow with a slight retention, antara kumbhaka for a few counts, and a natural exhalation that is steady and not rushed.

5. Take a natural pause, then breath in a deep Ujjayi breath and repeat.

6. Perform several rounds, working up to five minutes.

7. When beginning, you can put Ujjayi in between rounds of Kapalabhati.

8. Finish with Savasana or move into an asana practice.


84



Sitali Pranayama

Sitali means cooling, and is used to calm the mind and body and cool down. The breath in Sitali is performed with the mouth instead of the nostrils.

To instruct Sitali Pranayama:

1. Have students sit comfortably, close their eyes, and relax.

2. Curl the sides of your extended tongue to make a channel for air to move through.

3. Inhale smoothly and evenly through the tongue and fill the lungs without straining.

4. At the end of the inhale, withdraw the tongue and close the mouth.

5. Lower the head into Jalandhara bhanda and hold the breath for a short Kumbhaka.

6. Exhale slowly and evenly with Ujjayi breath through the nostrils.

7. Repeat for several rounds, up to 10 minutes.

8. Take one Ujjayi inhale and exhale.

9. Rest in Savasana.

Bhastrika Pranayama

Bhastrika means “bellows breath” and is similar, yet more vigorous than Kapalabhati pranayama, as there is no pause before the inhalation and the pace is faster. This can be introduced after your students are proficient with Kapalabhati breathing.

To instruct Bhastrika Pranayama:

1. Have students sit and perform several rounds of Ujjayi breathing to warm up the lungs and body.

2. Take a deep inhalation.

3. Actively exhale as in Kapalabhati but with a quicker pace and more forceful blasts of air through the nostrils. The abdomen releases immediately after each puffed exhalation. The 18-25 puffs of exhalation and the mini-inhalations as the diaphragm relaxes should be more regulated than with kapalabhati, creating the bellows effect with the belly.

4. Keeps nostrils and shoulders relaxed with eyes closed or gazing at the tip of the nose.

5. At the end of a round of Bhastrika, exhale steadily and without rushing, and then inhale fully and retain the breath for as long as is comfortable.

6. Exhale slowly and smoothly, pause, and then perform Kumbhaka abefore beginning next round of Bhastrika.

7. Work up to several minutes.

8. End with Savasana.

85


Nadi Shodhana Pranayama

Nadhi Shodhana pranayama is alternate nostril breathing, and is designed to clean and clear the energies of the two sides of the body. Ha, meaning Sun, is the right side of the body and is associated with heat. Tha, meaning moon, is the left and cooler side of the body. The time of day can dictate on which side to begin Nadhi Shodhana. If the practice is during the day—the warmer time—begin with the cooler left side, and begin with the warmer right side for an evening practice. This breathing technique is performed with a hand mudra, and has the steady, even inhalations and exhalations of Ujjayi breath.

To instruct Nadi Shodhana for evening:

1. Have students sit upright and comfortably.

2. Rest the left hand in Chin mudra (first knuckle of thumb and fore-finger connected), palm down on left knee.

3. Place the thumb of the right hand gently on top of the notch of the right nostril. Position the forefinger and middle finger on the third eye at the forehead. Relax the right ring finger downward and place the pinkie finger gently on top of the notch on the left nostril.

4. Close the left nostril by pressing the pinkie finger in, and exhale through the right nostril.

5. Inhale smoothly through the right nostril.

6. When the lungs are full, press the right thumb in to close the right nostril and pause; Kumbhaka for a moment.

7. Release the left pinkie and exhale through the left nostril.

8. Pause when the lungs feel empty.

9. Inhale through the left nostril.

10. When the lungs are full, press the left pinkie in to close the left nos-tril and pause; Kumbhaka for a moment.

11. Release the right thumb and exhale through the right nostril.

12. Pause when the lungs feel empty.

13. Repeat again through the right side and work for up to several minutes of rounds of alternate breathing.

14. Finish with an inhalation through the right nostril, release both thumb and pinkie, and exhale through both nostrils.

15. Return to natural breath.

16. Rest in Savasana.

17. Reverse the process to begin on the left for a daytime practice.


86


References

1. Desikachar, T. K. V. (1987) Pantajali’s Yogasutras: An Introduction p. 2

2. Keller, Doug. (2003) Refining the Breath: The Yogic Practice of Pranayama p. 9

3. Desikachar, T. K. V. (1999) The Heart of Yoga: Developing a Personal Practice p. 59

4. Stephens, Mark. (2010) Teaching Yoga: Essential Foundations and Techniques p. 241

5. Stephens, Mark. (2010) Teaching Yoga: Essential Foundations and Techniques p. 241

6. Desikachar, T. K. V. (1999) The Heart of Yoga: Developing a Personal Practice p. 60

module 5 teaching pranayama - wds.advection.net

Documents